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Open Tiffany Wesner Thesis Final THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DIVISION OF HUMANITIES, ARTS AND SOCIAL SCIENCES GONE WITH THE WIND AND ITS ENDURING APPEAL TIFFANY WESNER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a Baccalaureate Degree in American Studies with honors in American Studies Reviewed and approved* by the following: Raymond Allan Mazurek Associate Professor of English Thesis Supervisor Sandy Feinstein Associate Professor of English Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT The white antebellum woman has occupied an evolving archetypal status in American culture throughout the twentieth century. In 1936, Margaret Mitchell published Gone with the Wind and extended the tradition of featuring Southern belles in novels. However, Mitchell chose to alter stereotypical depictions of her heroine and incorporate a theme of survival. Her main character, Scarlett O'Hara, was a prototypical Southern woman of her day. Scarlett was expected to conform to rigidly defined social boundaries but, through acts of defiance and independence, she forged new paths for herself and her family along her route to survival. This thesis investigates the 1939 film adaptation of Mitchell's novel and the contributions of David O. Selznick, Vivien Leigh, and Hattie McDaniel to the story that chronicled Scarlett's transformation from stereotypical Southern belle to independent survivor. This analysis demonstrates that Scarlett depicted the new Southern Woman whose rising to define a diversity of roles embodied the characteristics of the New Woman. The film’s feminist message, romantic grandeur, ground-breaking performances, themes of survival through times of crisis, and opulent feminine appeal all combined in Gone With the Wind to create an American classic with enduring appeal. ii TABLE OF CONTENTS Acknowledgments........................................................................................................ iii Chapter 1 Introduction ................................................................................................. 1 Background ........................................................................................................... 3 Chapter 2 Gone With the Wind, the Book .................................................................... 9 Chapter 3 David O. Selznick’s Film Adaptation ......................................................... 16 Vivien Leigh as Scarlett O’Hara ........................................................................... 19 Hattie McDaniel as Mammy ................................................................................. 25 Chapter 4 The Film’s 1939 Release and Public Reception .......................................... 31 The 1939 Academy Awards ................................................................................. 37 Chapter 5 The Enduring Appeal of Gone With the Wind ............................................ 40 Chapter 6 Conclusion ................................................................................................... 46 BIBLIOGRAPHY................................................................................................. 50 iii ACKNOWLEDGMENTS I would like to express my sincere appreciation to my thesis supervisor Dr. Raymond Mazurek; you have been a tremendous mentor for me. I would like to thank you for your advice, words of encouragement, and for allowing me to grow as a researcher and writer. I would also like to thank my honors advisor Dr. Sandy Feinstein for your brilliant comments and suggestions. In addition, I would like to thank Dr. Jeanne Marie Rose and Dr. Kirwin Shaffer in offering their advice throughout this project. All of you have been there to support me when I needed it and your contributions to my efforts have been priceless. I would like to thank my parents Wayne and Susanne Halsey for their support and guidance. You have always been there for me and I am deeply appreciative. A special thanks to my husband Larry Wesner. You have always encouraged me in the moments when I needed it the most. Words cannot express how grateful I am to have had you to lean on and for all of the sacrifices that you have made on my behalf. 1 Chapter 1 Introduction At the time when Margaret Mitchell’s book Gone With the Wind was first published in 1936, America was in the midst of trying to recover from the Great Depression (Dodd). The threat of another war in Europe also placed fear in the hearts of Americans that had recent memories of World War I (Gone With the Wind: The Making of a Classic, 1939). The Depression officially began when the United States’ stock market crashed in October 1929 and lasted until America entered World War II in December 1941 (Collins 352). Women of the 1930s looked for a way to temporarily escape from the daily troubles in their lives, fantasize about a happier past, and look forward to better days to come. In her book, Margaret Mitchell gave her readers this means of escape with her glorification of the Old South and its palatial plantation myth. The book also provided strong female role models with a message of survival. These women effectively challenged traditional societal restrictions as Gone With the Wind wrestled with the nature of the New South, the tensions of social change, and the shifting female roles in America (Fox-Genovese 392). In the 1939 film adaptation of Gone With the Wind, David Selznick, Vivien Leigh, and Hattie McDaniel each made significant contributions to Margaret Mitchell’s original vision. They brought the characters to life in vivid Technicolor and produced a vehicle for the strong female portrayals of Scarlett O’Hara and Mammy. Selznick consciously gave McDaniel a degree of artistic freedom to create 2 in Mammy an admirable and resilient matriarchal figure that was no longer limited by Mitchell’s typecasting. McDaniel’s Mammy clearly could have positively influenced the brazen Scarlett O’Hara as she was being raised. Vivien Leigh embodied all of the determination and endurance that the novel had given Scarlett, but her portrayal made audiences feel empathy towards her situations and she became even more relatable to their own circumstances. In “Southern Belle Brought to Life by Vivien Leigh,” Hannah Betts observed that Gone With the Wind taught its audience that strong, ambitious women could become the heroine of their own story. Roger Dooley has acknowledged that Gone With the Wind seems never to have lost its hold on the public’s imagination since the novel was published in 1939 (611). It has been widely recognized that Gone With the Wind, both as a book and a film, have been continuously popular due to its grandeur, cultural themes, and faithful female audience. Perhaps less recognized has been the lure of the strong female role model that is capable of surviving against all odds. The final version of Scarlett O’Hara, as performed by Vivien Leigh and complemented by Hattie McDaniel’s performance as Mammy, gave the 1940s audience a heroine with which women could identify as they struggled with the challenges of their daily lives. This appeal has endured through the decades, as each new era finds women who connect with the film’s message of individualism and survival. 3 Background Before the Civil War changed traditional female roles in America, white Southern women had typically accepted their subordinate roles in society and they devoted themselves to the care of their home and men (Antolini 23). The ideal Southern woman's commitment to socially accepted values, and the idea of self-sacrifice, represented the legitimacy of the social system in the Old South (Kovacs). George Britt wrote in “Women in the New South” that the lady was the social product of the Old South’s “solidly established community” (409). Southerners believed that the lady was the epitome of their refined and "noble" civilization (Seidel 401). Britt saw her as “the topmost ornament of this unstable slave-supported economic structure” (408). Antebellum women were often an integral part of every working plantation, but they did not permanently assume the more masculine roles of family head or business manager (Antolini 29-30). After the Confederate defeat in the Civil War, images of women as morally pure and self-sacrificing creatures often sent these Southern women back to their homes and to their "natural roles" as housewife and mother (Kovacs). In the article “The New Era and The New Woman,” K.A. Clements acknowledged that women's roles within “separate spheres” had evolved and eroded in most of the United States between the late nineteenth century and the early twentieth century (426). But in the South, female awareness and feminism developed along a later time frame and along different lines than in the rest of the United States (Perry 234). The South held onto its long standing tradition of graceful leisure through Reconstruction, while the North pursued more “purposeful” activities that 4 also extended to their women (Britt 412). As the Northern women were laying the foundation for emancipation, Southern women continued to devote themselves to romance and nostalgia (Britt 413). Historically, a woman's destiny had been to become a wife and mother, while merely existing behind the shadow of a man (Britt 411). American women in the 1930s experienced both continuities and changes during the decade, but the one thing that remained constant was the clear division of roles within most American households (Ware 13). Typically, a woman was what
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